In the following sequence, the porosity between the Railway Path and the city is increased. There are more and more connections to the streets and the fences that demarcate and protect the path appear more gardened. As a landscape of commercial area is crossed, a city entrance stereotype, it seems that the train track status has changed. Born from the willingness to connect a set of targeted points, railways are planned to only impact the surrounding of the stations. The route always remains pragmatical, it follows economical grounds to find the shortest trip while keeping at all point a radius of gyration sufficient for train circulation requirements. Beyond the neighbourhood of the station, the railway will in the best case be integrated anecdotally, and in the worst case be disturbing the residents. The observation of topography highlights the statement of an absolute disconnection between the micro-urban quarter layout and the macro-urban territorial planning.
The railway path is indeed on a major part of the route an accidental element of the urban field. This situation exceptionally changes here, the Railway Path and the street are on the same level, only a separated by a few meters wide flowerbed ornamented with an alignment of trees. There are numerous of furniture and accesses, the place is turned into a sustainable transportation hub, true contemporary gate of the city. It isn’t any more a fortuitous space, but an attractive and structuring centre.
The omnipresence of the actuality also features urbanity: graffities praising the Black Lives Matters movement or other reify the dynamism and the engagement of the Bristol inhabitant on the wall surfaces.
The Railway Path is further disconnected again from its surroundings and pursue its own way across the built fabric, although the contact points with the city street are more frequent. The landscape is sometime cleared, and some views allow to sight the city centre for the first time. The uses expending density and diversity reach their paroxysm when the Cycle Path Gallery is met. The associative venture of incitation to the free appropriation of the city enlivens a simple wall facet to reflect the local art on it. Another form of reification of the human society on the built environment. The principle is joyful, but the exposition conditions prevent the appropriate conservation of the canvas, and the wall looks somehow abandoned.